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¤µ±ß¬ð·Q°_joe chan

Joe Chan was educated at the University of Hong Kong, where he wrote a Ph.D. thesis under Steven N.S. Cheung. After showing how product differentiation can be consistent with perfect competition, he has been working on another fundamental question: In what ways do the outcomes of an organized market reflect whatever information there is to be reflected? What determines the type and amount of information transmitted? In an organized market, for example, individuals are able to ignore product differentiation, because the institutional framework simplifies the information content of price signals. It therefore becomes easier for people to follow the 'command' of market forces.

Joe's tastes in leisure activities is consistent with his academic work, always preferring the simple old to the 'complicated modern' He is fascinated by black-and-white photography. He collects photographic and cinematic lenses of the 1930s and 1960s, brands like Voigtlander, Kinoptik, Angenieux, and Taylor-Hobson. No programmes, no auto-focus, no motor-drive, no automatic stop-down: only the unique image quality of these lenses is important.

Joe prefers the soul bondage of jazz to the glamour of modern pop. His favorite artists were all gone now, leaving only their digitalized legacy to converse with him: the voice of Billie Holiday, the tenor sax of Ben Webster, the piano of Art Tatum, and the blues of Muddy Waters. While Joe admires the artistic vision and passion of the great impressionists -- Monet, Renoir and Rodin in particular -- he adores the serene sensuality of the anonymous hands, which produced the sculptures and bas-reliefs in Ancient Cambodia a thousand years ago.

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